The sisters Wiesenthal, Elsa and Grete, were received with unparalleled enthusiasm at home and in consequence made a tour abroad, on which occasion one of them danced in New York. How little she impressed the New York audience, can be judged from what one of the most favorable critics wrote of her as having ‘a pretty fluttering, tottering marionette manner of her own.’ Our impression is that the sisters Wiesenthal proved most successful in the quaint, naïve and simple ensemble performances which they gave in Germany. They displayed some excellent _ritartandos_ and a few successful _adagio_ figures. One could see that their steps and arm twists were not a result of systematic studies but of spontaneous impulses, since in repetitions of the music there was no sign of a well trained art, the wing-like arms of the first phrase being arabesque-like in the repetition, etc. They showed that they possessed a poetic conception of the dance, but failed to grasp and express its intrinsic meaning. They were rather poets than dancers, rather actresses than designers in the choreographic sense. Their acting often interfered with dancing and brought about an unpleasant disharmony with the musical rhythm. They may have danced better on other occasions, but what a number of impartial connoisseurs of the dance saw of them stamps them as talented dilettantes rather than accomplished artists of a school. A girl who enjoyed a great reputation in Vienna, Munich and in other German cities in the first decade of this century, but of whom was heard nothing later, was Miss Gertrude Barrison, an Anglo-Viennese. Her art was more clever and more in style with the principles of the naturalistic than that of the sisters Wiesenthal. She won the ear of Austria for the new message. With a certain assurance in the conviction of her individuality, Miss Barrison treated her art with freedom and loftiness. She enforced her personality more than her art upon the spectators, and this was, to a great extent, the secret of her phenomenal success.